Japanese aluminum consumers eye more scrap usage as prices fall | Aluminum U Channel

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Porter and Diddy shared a son, Christian, 20, and 11-year-old twin daughters, D’Lila Star and Jessie James. The rapper also helped raise Porter’s son Quincy Brown, 27, from a previous relationship with Al B. Sure!

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“I’ve used this specific light for decades. It is made out of paper and split bamboo and is lightweight and delicate. Therefore, I buy a replacement every ten years. This reminds me that as humans, we are fragile, and nature is more powerful than we are. Plus, I like to support the traditional craft economy and this family-run business. I love the fact that Noguchi took the craft of traditional paper lanterns and turned it into a contemporary light fixture as well as an affordable work of art. I’ll also give this as a gift to friends and family — it comes packaged in a beautiful black box.” —Jonathan Marvel, founder of Marvel Architects, New York

Italian premium widens; Europe liquidity remains high The premium for 6063 series extrusion billet in northern Italy on a delivered duty-paid basis with 60-day payment terms widened to $510-550 per tonne on Friday November 23 from $520-550 per tonne previously. High prices in recent weeks have attracted billet of different origins to the market. Billet from South Korea and Egypt is on offer at around $500 per tonne while Russian units are available below Fastmarkets’ published range. “Material from Asia is still being offered at low levels. If you are happy to accept certain origins then $500 is possible,” a billet consumer said. Billet from Asia is on offer toward the low end of the range, several market participants agreed, while Rusal material was also reportedly available at increasingly low numbers. “But if you want your top brands such as the Hydro material then you have to still pay the higher prices. The market…

Japanese extruders and rolling mills re-use scrap generated at their plants, and purchase a mix of scrap and primary aluminum depending on prices.

According to Cross, Liz Diller was “aghast” when she first saw Heatherwick’s design, finding it “too big, and too close” to the Shed. (Diller denies this.) The Vessel was twenty-five feet taller than the Shed; it was as if the Statue of Liberty stood in front of the Metropolitan Opera. “She lobbied against it,” Cross said. “I think she’ll forever be somewhat bothered by it.” Cross was sympathetic to this concern. He recalled, “I would have conversations with Thomas: ‘Are you sure you got the scale right?’ ” Cross asked Heatherwick to consider the difference between “a beautiful ocean liner” of the mid-twentieth century and the behemoth cruise ships of today. He told Heatherwick, “In my view, it’s a wine goblet. Are you sure you don’t want it to look like a champagne flute?”

After this meeting, Related had a shortlist of three—Heatherwick, Kapoor, and Plensa—each of whom was asked to produce a proposal. (“I paid one sculptor five hundred thousand dollars,” Ross recalled. “I paid another two hundred and fifty thousand.”) I recently spoke to Plensa on the phone. “Cities are not only buildings but people,” he told me, in a soft voice. He said that, when contemplating Hudson Yards, he “felt it was important, in this huge geometry, to try to offer something more organic, to create a space to breathe.” His design took the form of giant iron leaves—“to remind us of nature”—that visitors could walk beneath, after passing through a fine curtain of water. He told me, “It was a very poetical project.”

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For Hudson Yards, Ross told himself, “I’m not giving this to anyone else.” He made the plaza’s centerpiece a personal project, and started with the wise observation that “every visitor, and every New Yorker, wants to go to Rockefeller Center during Christmas season, to see the tree.” He continued, “So I said, ‘I need a three-hundred-and-sixty-five-day tree, O.K.?’ ” He began to ask artists for proposals.